MYSTERIOUS ATTRIBUTES OF 20TH CENTURY MUSICAL CULTURE AND ART

Abstract

The purpose of this study is to understand the specificity of mystery from the 20th to the 21st century as a presentation of a theatricalized model of mystery to the mysterization of operatic action, bypassing the artistic self-sufficiency of the latter. The methodological basis is hermeneutically oriented art- and cultural studies in the development of the works of J. Baudrillard, Y. Kristeva, in Ukraine O. Roschenko, O. Markova and other authors. Scientific novelty is the identification of the specifics of the mysterization of musical theater from the 19th to the 21st centuries, considering the artistic basis of the heritage of the Modern Age and the transformation of the artistic product into a culturally ideal achievement achievement of the “new opera” and its prolongation in modern times. Conclusions. The mysteriousness declared by the work of R. Wagner and terminologically fixed in the title of his last opera “Parsifal” has been manifested in the artistic typology of opera since the 19th century, although it has been significantly transformed dramaturgically and figuratively and thematically. The release of the Mystery by C. Debussy “The Martyrdom of St. Sebastian” based on the drama by G. d’Annunzio declares a break with the theatricality of the title of the action, actually leaving the latter in the vein of artistic “imitation of life”, in this case “imitation of mystery”. The final point of evolution in the 20th century is presented by O. Messiaen in the composition “St. Francis of Assisi”, which reflects a church-didactic drama like a baroque seria, presenting the established in their sacred relevance complexes of O. Messiaen’s themes-images, which were recognized in this sense in the 1940s and 1950s. The artistic level, as in the practice of seria, is set off by the extra-long duration of the action (4.5 hours), which is based on trust in the image of Holiness, personified in the main character of the opera, and the veneration of the national pride of France in the person of O. Messiaen (soon, 9 years after the premiere after the composer’s death in 1992, declared a Saint by the Catholic Church). And this is an aspect not of the artistic “illusion of being”, but of the ritual of life as such.